Lisa Gorton

Clara’s Witch by Natalie Andrews & Midnight Water by Gaylene Perry

November 2004, no. 266

With biography and memoir, it seems that readers are buying a certain kind of truth –call it authenticity, the authority of fact. Yet all reading is escapism, even when we are escaping to what we consider true; even in non-fiction, we seek some of fiction’s satisfactions. This is the challenge: to find a theme and structure that will shape the story without sacrificing a sense of intransigent reality.

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The Mother Workshops and Other Poems by Jeri Kroll & Shadows at the Gate by Robyn Rowland

by Lisa Gorton •

May 2004, no. 261

Lisa Gorton reviews ‘The Mother Workshops and Other Poems’ by Jeri Kroll and ‘Shadows at the Gate’ by Robyn Rowland

Robyn Rowland and Jeri Kroll write what you might call anecdotal poetry: simple, intimate and direct. Kroll, for instance, writes about her dogs, doing her taxes and sleeping in, with the sketchy, conversational tone of someone thinking out loud: ‘Does age smell? The older the dog grows, / the more he smells like a labrador, / though he’s a border collie and blue heeler.’

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beautiful, unfinished by M.T.C. Cronin

by Lisa Gorton •

November 2003, no. 256

Lisa Gorton reviews ‘beautiful, unfinished’ by M.T.C. Cronin

Like M.T.C. Cronin’s earlier collections, beautiful, unfinished is characterised by a mixture of mystical awe and formal restraint. The collection is subtitled PARABLE/SONG/CANTO/POEM’. As this suggests, it consists of a parable of sorts in verse, a sequence of songs, a set of cantos ‘minus melody’, and some poems. But in Cronin’s hands, these various forms seem based upon haiku. She writes sparely in short-lined stanzas, and she undercuts her own rhythms until it seems as if almost every poem might end in an ellipsis.

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